The Tempest: Entire Play The Tempest SCENE II. The island. Before PROSPERO'S cell. Enter PROSPERO and MIRANDA SCENE I. Another part of the island. Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO, and others SCENE II. Another part of the island. Enter CALIBAN with a burden of wood. A noise of thunder heard SCENE I. Before PROSPERO'S Cell. Enter FERDINAND, bearing a log SCENE II. Another part of the island. Enter CALIBAN, STEPHANO, and TRINCULO SCENE III. Another part of the island. Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO, and others SCENE I. Before PROSPERO'S cell. Enter PROSPERO, FERDINAND, and MIRANDA SCENE I. Before PROSPERO'S cell. Enter PROSPERO in his magic robes, and ARIEL I'll drown my book.

Solemn music Re-enter ARIEL before: then ALONSO, with a frantic gesture, attended by GONZALO; SEBASTIAN and ANTONIO in like manner, attended by ADRIAN and FRANCISCO they all enter the circle which PROSPERO had made, and there stand charmed; which PROSPERO observing, speaks: The Tempest: Critical Introduction :: Internet Shakespeare Editions Internet Shakespeare Editions Title: The Tempest: Critical Introduction Author: Paul Yachnin ISBN: 978-1-55058-370-0 Copyright Paul Yachnin. This text may be freely used for educational, non-profit purposes; for all other uses contact the Editor. Author: Paul Yachnin 17 2. Thinking and Feeling Harshness and Tenderness At the start all hell breaks loose. The beginning of the play is spectacular and action-packed. There are flashes of lightning, rolling thunder, and urgent shouts of distress. People are running about, either in sheer panic or in rapid, orchestrated labor. As we have heard, the opening stage direction says, "A tempestuous noise of thunder and lightning heard.

Enter a Shipmaster and a Boatswain." The actors are shouting to be heard over the noise of the storm (the first word is pronounced, "bosun"): Here, master. What cheer? SHIPMASTER Good. Speak to the mariners. Fall to it yarely or we run ourselves aground. Bestir! Bestir! (TLN 1-9) 19 In the face of dire danger, the mariners work together with admirable skill and courage. "Yarely" (nimbly and diligently) and "cheerly" (heartily) are the key words used to characterize their cooperative action. The courtiers, who are their passengers, show far less patience or fortitude. Shakespeare differs from the Strachey letter's description of how both the sailors and passengers worked to save the ship. The change makes a political point about the possible failings even of high-ranking people just as it does about the possible abilities and virtues of commoners. The usually good-humored counselor Gonzalo turns his own fear of dying into a wish to see the Boatswain hanged: "his complexion is perfect gallows," he says. "Stand fast, good Fate, to his hanging.

Make the rope of his destiny our cable, for our own doth little advantage" (TLN 37-40) Prospero's villainous brother Antonio, also terrified of the storm, puts the same wish more directly and rudely: "Hang, cur! hang, you whoreson, insolent noisemaker!" The Boatswain is abrupt enough in his turn, shouting at his social superiors to shut up and to get out of the way: "What cares these roarers for the name of king? To cabin; silence! Trouble us not!" (TLN 24-6). 20 This scene of deafening noise, exploding fireworks, whirling action and angry exchange is, however, also one that features moments of poignant fellow feeling. The mariners work together yarely and cheerly, as we have seen. Once there seems no hope of saving the ship, they leave the stage to pray and to await their deaths. At the moment the ship seems to be breaking up, we hear them taking leave of their absent families and of each other--"We split, we split! Farewell, my wife and children! / Farewell, brother!

We split, We split, We split!" (TLN 72-3) Even the villains Sebastian and Antonio, finally face-to-face with death, have the sense to think about someone beside themselves. They do not mention either prayer or divine mercy, but they do show a spark of compassion as they leave the stage to say good-bye to the King, who has stayed below decks during the storm. By the way, we can note that, even at this moment of noisy cataclysm, Shakespeare is taking care to make subtle but telling distinctions between characters: Antonio seems incapable of seeing anything except that everyone is going to drown, whereas Sebastian is thinking about the actual act of exchanging words of farewell: Let's all sink wi'th' King. SEBASTIAN Let's take leave of him. (TLN 74-5) 22 The storm scene shows us an artist at the top of his powers.

In the sections that follow, we will look more closely at some of the brilliant features of structure, language, and character that make the play such a pleasure to read and perform, as well as at the history of the play as literature and as theater, but here it is important to understand Shakespeare not only as a supremely accomplished artist but also as a remarkably clear-eyed and compassionate thinker. Indeed from beginning to end, The Tempest is a philosophical drama that is intent on exploring the couplings of harshness and tenderness in human life; the play instructs its readers and spectators in complex and even contradictory ways of understanding and responding to the world and of holding these very different ways of seeing and feeling together. 23 The harshness can come from nature, as it does, or seems to do, in the storm. And, as we have also seen, it can come from humankind, as when Antonio, frightened for his own life, curses the Boatswain and wishes him hanged. Prospero has a well-developed harsh side, which he keeps turned toward Caliban (who fears him more or less as the tortured fears the torturer) and a harshness that he can on occasion turn against Ariel or even his daughter.

His most acerbic remark is aimed at Antonio--"most wicked sir -- whom to call brother / Would even infect my mouth -- I do forgive / Thy rankest fault" (TLN 2094-6). Antonio himself is capable of real cruelty, as we learn once Prospero begins to tell his story to his daughter Miranda in the second scene. Twelve years before the action of the play, Antonio handed his brother Prospero and Prospero's three-year-old daughter Miranda over to a "treacherous army," a small commando force directed by the Neapolitan counselor Gonzalo (more about him in Section 3). The poor man and little child were cast adrift at sea in an unseaworthy boat--"A rotten carcass of a butt: not rigged, / . . . The very rats / Instinctively have quit it (TLN 252-4)". But tellingly, the injury done to him as well as his own physical suffering engendered in Prospero a deep and enduring tenderness toward his daughter Miranda, who, he tells her, was an angel that kept him going through his hardship-- Thou wast that did preserve me.

Thou didst smile, Infusèd with a fortitude from heaven (When I have decked the sea with drops full salt Under my burden groaned), which raised in me An undergoing stomach to bear up Against what should ensue. (TLN 259-65) 25 Or consider this moment near the end of the play. Prospero has reintroduced himself to those who nearly caused his death and the death of his daughter. He transforms his anger into a painful lesson for Alonso, the King of Naples and the man whose imperialist ambitions meshed with the treachery of Antonio. Alonso has been made to believe that his son has drowned, and he has suffered inconsolable grief, until, in this scene, Prospero reveals the very much alive Ferdinand playing chess with Miranda. So preoccupied are the two young lovers that it takes them several moments to notice that they are not alone. Once they do become aware of Prospero, decked out in his duke's finery, and all the other members of the court party, Miranda says, _O wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world That has such people in't!

(TLN 2157-60) 26 Prospero responds in a bitterly ironic remark likely not intended to be heard by his daughter, "'Tis new to thee." How can we compass both Miranda's joy in the face of the beauty of humankind and Prospero's harsh response to the perfidy and selfishness of people? How can we hold two so diametrically opposed ideas about "mankind" in our minds? Shakespeare seems to be enjoining us to feel Miranda's sense of wonder fully and to grasp the soundness of Prospero's judgment of the men that stand together on the stage, excepting perhaps Gonzalo, and not to permit the one to displace the other. 27 We might say that the gathering together of thinking and feeling about others in terms both harsh and tender is the point of Prospero's story of suffering, separation, and redemption, a story that culminates with his decision to forgive those who have wronged him. The forgiveness is not merely an intellectual choice made in the teeth of his anger, but rather a reorientation of his whole personhood in the direction of forgiveness.

Ariel tells him that his enemies are entirely at his mercy and, in a weirdly subjunctive voice, comments that he would feel sorry for them if he were human. Prospero does not abandon his anger, but, as if in answer to Ariel, he nevertheless forgives his enemies so as to bear witness to his own humanity; and indeed his ability to forgive depends as much on his "sharply" passionate nature as on his "nobler reason" (TLN 2173, 2176). His passion enables his reason: because he is “kindlier moved” than Ariel is, Prospero finds himself able take the part of his “nobler reason” against his “fury” (TLN 1974-7) 'The Tempest' Act 1 – Scene by Scene Summary By Lee Jamieson The Tempest, Act 1, Scene 1: Shipwreck! Thunder is heard. Enter a Shipmaster and a Boatswain. The Shipmaster implores the Boatswain to stir the mariners for fear they will run aground. Enter Alonso the King, Antonio The Duke of Milan , Gonzalo and Sebastian.

The Boatswain warns the men to stay below deck. Gonzalo puts his trust in the Boatswain and leaves but the Mariners are struggling and the men return to help. Some of the Mariners have gone overboard and the storm does not abate. When the boat seems to be sinking, Gonzalo and the other men resolve to go down with the King and prey for dry land. The Tempest, Act 1, Scene 2: A Magical Island We are introduced to The Tempest's main character, Prospero , with his magic staff and Miranda. Miranda asks her father if he created the storm and, if so, to stop it. She saw a ship “dashed all to pieces” and lamented the valiant lives of the no-doubt noble men within. She tells her father that if she could she would save them. continue reading below our video Test Your General Science Knowledge Prospero assures her that no harm was done and that he has done it for her, in order that she learns about who she is and indeed who her father is. The Backstory Prospero asks Miranda if she remembers life before the island when she was just three years old; she recalls being attended to by many women.

Prospero explains that this was because he was the Duke of Milan and a powerful man. She asks how they managed to end up on the island, suspecting foul play . Prospero explains that his brother, her uncle Antonio usurped him and cruelly sent him and Miranda away. Miranda inquires why he did not just kill them and Prospero explains that he was too loved by his people and that they would not accept Antonio as duke if he had done that. Prospero goes on to explain that he and Miranda were put on a ship with no food or sails and sent away never to be seen again but a kind man, Gonzalo, charged with carrying out the plan, made sure that Prospero had his beloved books and clothing for which he was very grateful. Prospero explains that since then, he has been her teacher. Prospero then hints that he would like to see his enemies again but does not fully explain about the storm as Miranda is tired and falls to sleep. Ariel’s Plan The spirit Ariel enters and Prospero asks him if he performed the duties asked of him. Ariel explains how he destroyed the ship with fire and thunder. He explains that the King’s son Ferdinand was the first to jump ship.

Ariel explains that they are all safe as requested and that he has distributed them throughout the island – the King is on his own. Ariel explains that some of the fleet have returned to Naples , having believed to have seen the King’s ship destroyed. Ariel then asks if he can be granted the liberty promised to him if he performed all of his duties without grumbling. Ariel says that Prospero promised to free him after a year of service. Prospero gets angry and accuses Ariel of being ungrateful; asking if he has forgotten about what it was like before he came. Prospero talks of the previous ruler of the island, the witch Sycorax, who had been born in Algiers but was banished with her child to this island. Ariel had been her slave and when he refused to carry out her wrong-doings she imprisoned him for a dozen years and he would scream out but no one would help him and she died and left him until Prospero arrived on the island and freed him. If he dares to speak of this again he would “rend an oak and peg thee in his knotty entrails”. Prospero then says if Ariel does what he says he will set him free in two days.

He then orders Ariel to spy on the ship wreckers. Introducing Caliban Prospero suggests to Miranda that they go and visit Caliban . Miranda doesn’t want to and seems afraid. Prospero explains that they need Caliban – he is useful to them – and conducts many domestic chores like wood gathering. Prospero orders Caliban out of his cave, but Caliban replies that there is enough wood. Prospero tells him it isn’t for that and insults him: “poisonous slave!” Eventually Caliban comes out and protests that when they first came Prospero and Miranda were nice to him; they stroked him and he loved them and he showed them the island. As soon as they knew enough, they turned on him and treated him like a slave . Prospero agrees that they were nice to him at first, teaching him their language and letting him live with them until he attempted to violate Miranda’s honour. Caliban replies that he wanted to “people the island with Caliban’s”. Prospero orders him to get wood and he agrees acknowledging Prospero’s powerful magic. Love Ariel enters playing and singing but invisible to Ferdinand, who is following. Prospero and Miranda stand aside.

Ferdinand can hear the music but can’t fathom the source. He believes the music reminds him of his father who he believes is drowned. Miranda having never seen a real man is in awe of Ferdinand. Ferdinand sees Miranda and asks her if she is a maid she says that she is. They have a brief exchange and swiftly fall for one another. Prospero, seeing the lovers falling for one another, tries to intervene believing Ferdinand to be a traitor. Miranda does not yet know that Ferdinand was on the ship or indeed that he is related to the current King and defends him. Prospero casts a spell on Ferdinand to stop him resisting his efforts to take him off. Prospero then orders Ariel to follow his commands and Miranda not to speak of Ferdinand. Continue the story with our The Tempest Act 2 Summary The Tempest Written By William Shakespeare - How does the opening scene capture the audience, introduce themes and characters and sustain interest bearing in mind the construction of Shakespeare's theatre? - GCSE English - Marked by Teachers.com The Tempest Written By William Shakespeare - How does the opening scene capture the audience, introduce themes and characters and sustain interest bearing in mind the construction of Shakespeare's theatre?

Extracts from this document... Introduction By Sabina Chan The Tempest Written By William Shakespeare: How does the opening scene capture the audience, introduce themes and characters and sustain interest bearing in mind the construction of Shakespeare's theatre? This play is unlike any other Shakespeare play. It contains magic and supernatural things. In Shakespeare's time, people believed in magic because they had poor education and could not explain natural events. In 'The Tempest' the main themes and characters are introduced in the opening scene. The tempest is the symbol of change. In the Tempest, order has been upset by the overthrow of Prospero. The storm brings the people responsible to the island so that order can be restored. 'A tempestuous noise of thunder and lightning heard'. So already Shakespeare is getting the audiences attention by starting off the play with a ship in the middle of a storm. The play begins on a ship, with a shipmaster, a boatswain and mariners trying to keep the ship from getting wrecked and killing passengers. Then Alonso, Sebastian, Antonio and Gonzalo enter and get rude to the boatswain. The Boatswain orders action to save the ship but disaster strikes. Miranda and her father Prospero are left on the island.

Prospero begins to tell her his history, and how they became upon the island. During the storm, Boatswain talks to noble men with a polite manner, but after when he lose his temper, he curses and is blasphemous. 'A plague upon this howling! Have you a mind to sink?' His authority on the ship overrides the traditional hierarchy where the king is in charge. Alonso gives the audience the impression that he is worried, but is also kind and caring. ...read more. Middle The second view is that nature is naturally bad, and therefore cannot be left to its own devices, but must be controlled and educated in order to become good. In this second view, nurture is superior to nature. This belief is expressed in Prospero's opinion of Caliban 'on whose nature nurture can never stick'. Here, nature is naturally untrustworthy, savage and evil: Caliban is incapable of being educated or trained. Finally the last theme that is used is Sleep and dreams. Sleep and dreams recur often in the pay. Prospero sends his daughter Miranda to sleep, Ariel causes Alonso and Gonzalo to sleep, as a result provoking brutal thoughts in Antonio and Sebastian. The sailors are asleep throughout the entire play.

Caliban has such wonderful dreams he always wishes to be asleep. Gonzalo has a vision of his 'commonwealth' in his dream, and what the perfect Utopian society would look like. The reason why Shakespeare used many different themes was that it made the play more interesting and grabbed attention from the audience. In this play the main characters are introduced in the first scene, one of the main ways that this is done is through-using magic. To sustain interest throughout the play there must be a strong beginning with a good opening scene so the audience will respond more to the play. So Shakespeare used a good dramatic opening scene, when Prospero cursed a storm. Shakespeare used very good dramatic techniques in the opening scene. There are many characters in this play and most of them are introduced through the first scene. Prospero is the main character of this play, Prospero used to be the legitimate Duke of Milan. ...read more. Conclusion Iambic means two syllables, first a soft syllable and then a hard syllable. Pentameter means five feet to a line. So each blank verse line has ten syllables in the soft-hard pattern.

Although this format varies here and there with an extra foot or a short foot, most of the lines will parse. Since Shakespeare could not dim the lights or draw a curtain, rhyme was employed to close scenes. These are called 'capping couplets'. Rhyme is also used to indicate a sudden attack of love. Lastly, prose appears in the plays. Prose may indicate that a person of lower status is speaking or that someone of higher status is speaking in a rude or impolite way. Shakespeare's language differs from modern language. Obsolete words were used, but these are no longer used in English. Some examples are wrack for wreck, fain for gladly, and wherefore used as why. Also words that have changed meaning for example art meant skill and brave meant splendid. The English used to have a familiar form of the subject 'you'. The words thee/thou/thine/thy, etc. are familiar, and indicate relationship or social class. The 'thou' form is used with close friends or family members, with pets, with servants, and with those lower in social class than the speaker. Shakespeare often uses this form expressively: simply calling an enemy 'thou' indicates disrespect.

To conjugate the familiar 'thou', a different verb ending is added generally t, st, or est (as in thou shalt, canst, dost, hast, or art). In conclusion in my opinion I think that 'The Tempest' does catch attention to people in the audience as the opening scene was dramatic and tense. Even though there were no special effects the whole scene and the way the play was written and all the themes that were used didn't need any big loud effects, as the story was interesting. ...read more. The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE The Tempest section. Found what you're looking for? Start learning 29% faster today 150,000+ documents available The Tempest by William Shakespeare, Paperback | Barnes & Noble® CALIBAN, a savage and deformed slave ARIEL, an airy spirit IRIS, CERES, JUNO, spirits commanded by Prospero playing roles of NYMPHS, REAPERS The Scene: an uninhabited island Act 1 Scene 1 running scene 1 A tempestuous noise of thunder and lightning heard.

Enter a Shipmaster and a Boatswain MASTER Boatswain! BOATSWAIN Here, master. What cheer? MASTER Good: speak to th'mariners. Fall to't yarely, or we run ourselves aground! Bestir, bestir! Exit Enter Mariners BOATSWAIN Heigh, my hearts! Cheerly, cheerly, my hearts! Yare, yare! Take in the topsail. Tend to th'master's whistle.- Blow, till thou burst thy wind, if room enough. Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo and others ALONSO Good boatswain, have care. Where's the master? Play the men. BOATSWAIN I pray now, keep below. ANTONIO Where is the master, boatswain? BOATSWAIN Do you not hear him? You mar our labour. Keep your cabins! You do assist the storm. GONZALO Nay, good, be patient. BOATSWAIN When the sea is. Hence! What cares these roarers for the name of king? To cabin! Silence! Trouble us not. GONZALO Good, yet remember whom thou hast aboard.

BOATSWAIN None that I more love than myself. You are a counsellor: if you can command these elements to silence, and work the peace of the present, we will not hand a rope more: use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap.- Cheerly, good hearts!- Out of our way, I say. Exeunt [Boatswain with Mariners, followed by Alonso, Sebastian, Antonio and Ferdinand] GONZALO I have great comfort from this fellow: methinks he hath no drowning mark upon him: his complexion is perfect gallows. Stand fast, good Fate, to his hanging: make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable. Exit Enter Boatswain BOATSWAIN Down with the topmast! Yare! Lower, lower! Bring her to try with main course. (A cry within) A plague upon this howling! They are louder than the weather or our office. Enter Sebastian, Antonio and Gonzalo Yet again? What do you here?

Shall we give o'er and drown? Have you a mind to sink? SEBASTIAN A pox o'your throat, you bawling, blasphemous, incharitable dog! BOATSWAIN Work you then. ANTONIO Hang, cur! Hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art. GONZALO I'll warrant him for drowning, though the ship were no stronger than a nutshell and as leaky as an unstanched wench. BOATSWAIN Lay her ahold, ahold! Set her two courses off to sea again! Lay her off! Enter Mariners, wet MARINERS All lost! To prayers, to prayers! All lost! BOATSWAIN What, must our mouths be cold? GONZALO The king and prince at prayers: let's assist them, for our case is as theirs. SEBASTIAN I'm out of patience. ANTONIO We are merely cheated of our lives by drunkards. This wide-chopped rascal: would thou mightst lie drowning, the washing of ten tides!

GONZALO He'll be hanged yet, Though every drop of water swear against it And gape at wid'st to glut him. [Exeunt Boatswain and Mariners] A confused noise within [VOICES OFF-STAGE] Mercy on us! - We split, we split! - Farewell, my wife and children! - Farewell, brother! - We split, we split, we split! ANTONIO Let's all sink wi'th'king. SEBASTIAN Let's take leave of him. Exeunt [Antonio and Sebastian] GONZALO Now would I give a thousand furlongs of sea for an acre of barren ground: long heath, brown furze, anything. The wills above be done! But I would fain die a dry death. Exit Act 1 Scene 2 running scene 2 Enter Prospero and Miranda MIRANDA If by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to th'welkin's cheek, Dashes the fire out.

O, I have suffered With those that I saw suffer: a brave vessel - Who had, no doubt, some noble creature in her - Dashed all to pieces. O, the cry did knock Against my very heart. Poor souls, they perished. Had I been any god of power, I would Have sunk the sea within the earth, or ere It should the good ship so have swallowed, and The fraughting souls within her. PROSPERO Be collected: No more amazement. Tell your piteous heart There's no harm done. MIRANDA O, woe the day! PROSPERO No harm: I have done nothing but in care of thee - Of thee, my dear one, thee, my daughter - who Art ignorant of what thou art: nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father. MIRANDA More to know Did never meddle with my thoughts. PROSPERO 'Tis time I should inform thee further. Lend thy hand And pluck my magic garment from me. So: Lie there, my art. Wipe thou thine eyes, have his magic cloak comfort.

The direful spectacle of the wreck, which touched The very virtue of compassion in thee, I have with such provision in mine art So safely ordered that there is no soul - No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down, [Miranda sits] For thou must now know further. MIRANDA You have often Begun to tell me what I am, but stopped And left me to a bootless inquisition, Concluding 'Stay: not yet.' PROSPERO The hour's now come, The very minute bids thee ope thine ear: Obey, and be attentive. Canst thou remember A time before we came unto this cell? I do not think thou canst, for then thou wast not Out three years old. MIRANDA Certainly, sir, I can. PROSPERO By what? By any other house or person? Of any thing the image, tell me, that Hath kept with thy remembrance. MIRANDA 'Tis far off, And rather like a dream than an assurance That my remembrance warrants. Had I not Four or five women once that tended me?

PROSPERO Thou hadst; and more, Miranda. But how is it That this lives in thy mind? What see'st thou else In the dark backward and abysm of time? If thou rememb'rest aught ere thou cam'st here, How thou cam'st here thou mayst. MIRANDA But that I do not. PROSPERO Twelve year since, Miranda, twelve year since, Thy father was the Duke of Milan and A prince of power. MIRANDA Sir, are not you my father? PROSPERO Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan, and his only heir And princess, no worse issued. MIRANDA O the heavens! What foul play had we, that we came from thence? Or blessèd wast we did? PROSPERO Both, both, my girl. By foul play - as thou say'st - were we heaved thence, But blessedly holp hither. MIRANDA O, my heart bleeds To think o'th'teen that I have turned you to, Which is from my remembrance. Please you, further.

PROSPERO My brother and thy uncle, called Antonio - I pray thee, mark me - that a brother should Be so perfidious - he whom next thyself Of all the world I loved, and to him put The manage of my state, as at that time Through all the signories it was the first, And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel; those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle - Dost thou attend me? PROSPERO Being once perfected how to grant suits, How to deny them, who t'advance and who To trash for over-topping, new created The creatures that were mine, I say, or changed 'em, Or else new formed 'em; having both the key Of officer and office, set all hearts i'th'state To what tune pleased his ear, that now he was The ivy which had hid my princely trunk And sucked my verdure out on't.- Thou attend'st not. MIRANDA O good sir, I do.

PROSPERO I pray thee, mark me: I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that, which but by being so retired, O'er-prized all popular rate, in my false brother Awaked an evil nature, and my trust, Like a good parent, did beget of him A falsehood in its contrary, as great As my trust was, which had indeed no limit, A confidence sans bound. He being thus lorded, Not only with what my revenue yielded, But what my power might else exact: like one Who having into truth, by telling of it, Made such a sinner of his memory To credit his own lie, he did believe He was indeed the duke, out o'th'substitution And executing th'outward face of royalty With all prerogative: hence his ambition growing - Dost thou hear? MIRANDA Your tale, sir, would cure deafness. PROSPERO To have no screen between this part he played, And him he played it for, he needs will be Absolute Milan. Me - poor man - my library Was dukedom large enough: of temporal royalties He thinks me now incapable.

Confederates - So dry he was for sway - wi'th'King of Naples To give him annual tribute, do him homage, Subject his coronet to his crown, and bend The dukedom yet unbowed - alas, poor Milan - To most ignoble stooping. PROSPERO Mark his condition and th'event, then tell me If this might be a brother. MIRANDA I should sin To think but nobly of my grandmother: Good wombs have borne bad sons. PROSPERO Now the condition. This King of Naples, being an enemy To me inveterate, hearkens my brother's suit, Which was, that he, in lieu o'th'premises Of homage, and I know not how much tribute, Should presently extirpate me and mine Out of the dukedom, and confer fair Milan, With all the honours, on my brother: whereon, A treacherous army levied, one midnight Fated to th'purpose, did Antonio open The gates of Milan, and i'th'dead of darkness The ministers for th'purpose hurried thence Me and thy crying self. MIRANDA Alack, for pity!

I, not rememb'ring how I cried out then, Will cry it o'er again: it is a hint That wrings mine eyes to't. PROSPERO Hear a little further, And then I'll bring thee to the present business Which now's upon's: without the which, this story Were most impertinent. MIRANDA Wherefore did they not That hour destroy us? My tale provokes that question. Dear, they durst not, So dear the love my people bore me: nor set A mark so bloody on the business: but With colours fairer, painted their foul ends. In few, they hurried us aboard a barque, Bore us some leagues to sea, where they prepared A rotten carcass of a butt, not rigged, Nor tackle, sail, nor mast: the very rats Instinctively have quit it. There they hoist us, To cry to th'sea that roared to us; to sigh To th'winds, whose pity sighing back again, Did us but loving wrong. MIRANDA Alack, what trouble Was I then to you! PROSPERO O, a cherubin Thou wast that did preserve me.

Thou didst smile, Infusèd with a fortitude from heaven, When I have decked the sea with drops full salt, Under my burden groaned, which raised in me An undergoing stomach, to bear up Against what should ensue. MIRANDA How came we ashore? PROSPERO By providence divine. Some food we had, and some fresh water, that A noble Neapolitan, Gonzalo, Out of his charity - who being then appointed Master of this design - did give us, with Rich garments, linens, stuffs and necessaries, Which since have steaded much. So, of his gentleness, Knowing I loved my books, he furnished me From mine own library with volumes that I prize above my dukedom. MIRANDA Would I might But ever see that man. PROSPERO Now I arise: Prospero stands Sit still, and hear the last of our sea-sorrow. Here in this island we arrived, and here Have I, thy schoolmaster, made thee more profit Than other princes can that have more time For vainer hours, and tutors not so careful. MIRANDA Heavens thank you for't.

And now, I pray you, sir, For still 'tis beating in my mind: your reason For raising this sea-storm? PROSPERO Know thus far forth: By accident most strange, bountiful Fortune - Now my dear lady - hath mine enemies Brought to this shore: and by my prescience I find my zenith doth depend upon A most auspicious star, whose influence If now I court not, but omit, my fortunes Will ever after droop. Here cease more questions: Thou art inclined to sleep. 'Tis a good dullness, And give it way: I know thou canst not choose.- Miranda Come away, servant, come. I am ready now. sleeps Approach, my Ariel, come. ARIEL All hail, great master! Grave sir, hail! I come To answer thy best pleasure; be't to fly, To swim, to dive into the fire, to ride On the curled clouds: to thy strong bidding task Ariel and all his quality. PROSPERO Hast thou, spirit, Performed to point the tempest that I bade thee? ARIEL To every article.

I boarded the king's ship: now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I'd divide And burn in many places; on the topmast, The yards and bowsprit would I flame distinctly, Then meet and join. Jove's lightning, the precursors O'th'dreadful thunderclaps, more momentary And sight-outrunning were not; the fire and cracks Of sulphurous roaring, the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake. PROSPERO My brave spirit! Who was so firm, so constant, that this coil Would not infect his reason? ARIEL Not a soul But felt a fever of the mad and played Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel, Then all afire with me: the king's son, Ferdinand, With hair up-staring - then like reeds, not hair - Was the first man that leaped; cried 'Hell is empty And all the devils are here.' PROSPERO Why, that's my spirit! But was not this nigh shore?

ARIEL Close by, my master. PROSPERO But are they, Ariel, safe? ARIEL Not a hair perished: On their sustaining garments not a blemish, But fresher than before: and, as thou bad'st me, In troops I have dispersed them 'bout the isle. The king's son have I landed by himself, Whom I left cooling of the air with sighs In an odd angle of the isle, and sitting, His arms in this sad knot. [Folds his arms]

Question: The first two speakers in which Shakespeare play are a shipmaster and a boatswain?
Answer: The Tempest